"Independent Filmmaking across Borders in Contemporary Asia examines an array of auteur-driven fiction and documentary independent film projects that have emerged since the turn of the millennium from East and Southeast Asia, a strand of transnational filmmaking that converges with Asia's vibrant ye
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t unevenly developed independent film movements amidst global neoliberalism. These projects bear witness to and are shaped by the ongoing historical processes of inter-Asia interaction characterized by geopolitical realignment, migration, and population displacement. This study threads together case studies of internationally acclaimed filmmakers, artists, and collectives such as Zhang Lu, Kuzoku, Li Ying, Takamine Go, Yamashiro Chikako, and Midi Z, all of whose transborder journeys and cinematic imaginations disrupt static identity affiliations built upon national, ethnic, or cultural differences. This border-crossing filmmaking can be viewed as both an aesthetic practice and a political act, reframing how people, places, and their interconnections can be perceived - thereby opening up possibilities to reimagine Asia and its connections to globalization." (Publisher description)
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"Lange Zeit gab es wenig Kritik an dem, was die großen Digitalkonzerne mit den Daten ihrer Kunden machten. Doch die Diskussion um »Manipulations-Kapitalismus « und »Datenökonomie«, um zwei Begriffe zu nennen, die in der Diskussion über Vor- und Nachteile sozialer Medien oft zu hören sind, ni
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mmt zunehmend Fahrt auf – nicht zuletzt im Blick auf politische Wahlkämpfe. Vielfältige Einblicke in diesen Problemkomplex ermöglicht die Themen-DVD Afrika_Digital.2 – Start-ups und Künstler-Träume. Sie greift darüber hinaus Fragen der Menschenrechte im Verlauf der Produktions- und Gebrauchszyklen von Mobiltelefonen auf – und ist damit auch als Fortsetzung der Kompilations-DVD Digital – mobil – und Fair? zu verstehen. Und nicht zuletzt gilt es hier auch, den anderen, weitgehend positiv grundierten Blick auf Afrika hervorzuheben. Dies betrifft sowohl die hierzulande wenig bekannte Start-up-Szene, als auch die beiden ästhetisch innovativen Kurzfilme Algo-Rhythm und Zombies, die Bestandteil dieser DVD sind und bereits mehrfach mit Preisen ausgezeichnet wurden. In der dokumentarischen Kurzfilmreihe 10 von 199 kleinen Helden nehmen uns vier Mädchen und sechs Jungen mit auf ihren Weg zur Schule. Die Kinder sind mit dem Boot, zu Fuß oder über schwankende Hängebrücken unterwegs, während sie uns an ihren Gedanken über ihren Platz in der Welt teilhaben lassen. Der dreiteilige Dokumentarfilm The Food Challenge – Wie die Ernährung sichern beschreibt, analysiert und problematisiert die Geschäftspraktiken der großen Internationalen Chemiekonzerne in Kenia, die dort weiterhin Agrarpestizide vermarkten, die wegen ihrer Schädlichkeit in Europa und den USA oft schon lange verboten sind.
Gleich drei Filme thematisieren unterschiedliche Facetten des Themas Migration. Der niederländische Jugendfilm Rafaël erzählt eine dramatische Liebesgeschichte vor dem Hintergrund des Arabischen Frühlings und der Bootsflüchtlinge auf der Mittelmeerroute. Auf das organisierte Durcheinander europäischer Migrationspolitik blicken wir dabei aus der Perspektive einer jungen Europäerin, die selbst existentiell davon betroffen ist. Der Dokumentarfilm Die neuen Kinder von Golzow begleitet im Mikrokosmos dieser kleinen, legendär gewordenen Ortschaft die Aufnahme einer syrischen Flüchtlingsfamilie und ihre Bemühungen, sich zu integrieren. Yves’ Versprechen erzählt die mehrjährige Migrationsgeschichte eines jungen Kameruners, deren Vielschichtigkeit gerade auch deshalb spannend ist, weil sie die Perspektive der zuhause gebliebenen Familie und Freunde klug mit einzubinden weiß." (Editorial, Seite 1)
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"This article examines the ways in which cinematic film underscores the latency of structural violence in its visualization of peace, specifically through the juxtaposition of the life world of the two main protagonists in the Danish film A War (2016): Captain Claus Pedersen who serves as a Danish s
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oldier in Afghanistan and his wife Maria who takes care of the family in peaceful Denmark. The analysis centers on the internationally acclaimed film A War, directed by Thomas Lindholm, which received an Oscar nomination for Best Foreign Language film. In contrast to many other films about war in general and the Afghanistan war in particular, it intimately portrays how the young family struggles with the consequences of a war taking place in faraway country and right in the middle of their life." (Abstract)
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"The documentary dalan ba dame was produced by the East Timorese Commission for Reception, Truth and Reconciliation (Comissao de Acolhimento, Verdade e Reconciliaao de Timor-Leste, CAVR) and covers the twenty-four years of Indonesian occupation of Timor-Leste, during which nearly one quarter of the
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population died. The CAVR was originally set up to produce a report about the human rights violations committed between April 25, 1975, and October 25, 1999, analyze its root causes, and identify ways of how to come to terms with the violent past. It therefore constitutes an instrument of transitional justice, defined as “a set of practices, mechanisms, and concerns that arise following a period of conflict, civil strife, or repression and that are aimed directly at confronting and dealing with past violations of human rights and humanitarian law.”1 As the same institution produced both media, the report about the human rights violations and the documentary, one should expect them to communicate the same message. However, this is not the case. The report emphasizes the need to prosecute individual members of the Indonesian military for the human rights violations committed as a precondition for sustainable peace. The documentary tells the story that peace already prevails and keeping it is a matter of reconciliation among the East Timorese population. Consequently, the case of the CAVR and its documentary is interesting for research on visuality, which analyzes the dynamics and effects of visuals in social and political processes." (Introduction)
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"El objetivo de este libro colectivo es ofrecer una perspectiva panorámica acerca de la investigación profesional sobre los estudios cinematográficos que se está produciendo en siete países de América Latina: Argentina, Bolivia, Brasil, Colombia, Chile, México y Perú. En cada uno de los cap
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tulos de este volumen se ofrece un puntual registro de la producción bibliográfica nacional y la ponderación de estos materiales desde una perspectiva especializada. En las primeras dos décadas del nuevo siglo se observa un crecimiento exponencial de los estudios sobre cine en la región latinoamericana. Es de esperarse que esta tendencia se mantenga y que propicie un diálogo internacional para la creación de redes de cooperación académica, videotecas compartidas y publicaciones conjuntas. La investigación sobre cine producida en América Latina se encuentra en un momento de crecimiento y efervescencia, y este impulso podrá llevar a la producción de modelos teóricos de alcance universal. Esperamos que la presentación de estos materiales contribuya a la consolidación y el crecimiento de este terreno emergente de la investigación interdisciplinaria." (Resumen)
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"How do videos, movies and documentaries dedicated to indigenous communities transform the media landscape of South Asia? Based on extensive original research, this book examines how in South Asia popular music videos, activist political clips, movies and documentaries about, by and for indigenous c
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ommunities take on radically new significances. Media, Indigeneity and Nation in South Asia shows how in the portrayal of indigenous groups by both 'insiders' and 'outsiders' imaginations of indigeneity and nation become increasingly interlinked. Indigenous groups, typically marginal to the nation, are at the same time part of mainstream polities and cultures. Drawing on perspectives from media studies and visual anthropology, this book compares and contrasts the situation in South Asia with indigeneity globally." (Publisher description)
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"Este libro traza una historia comparada de los cines nacionales de América Latina en diez capítulos que cubren los principales periodos cinematográficos de la región, entre ellos el cine mudo, el cine de estudios, el neorrealismo, el cine de autor, el Nuevo Cine Latinoamericano y el cine contem
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poráneo. Schroeder Rodríguez incorpora un análisis de aproximadamente 50 películas a una narrativa de alto rigor académico y enmarcada por un persuasivo marco teórico de modernidades múltiples. El resultado es una guía obligatoria que transforma la versión heredada de la historia cultural de América Latina en los últimos cien años, pues resalta la forma en que actores sociales como la Iglesia y el Estado han utilizado el poder del cine para definir la esfera pública y moldear nuevas identidades en un continente marcado por luchas continuas de liberación y justicia social." (Editorial)
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"This dictionary covers all aspects of its discipline as it is currently taught at undergraduate level. Offering exhaustive and authoritative coverage, this A-Z is written by experts in the field and covers terms, concepts, debates, and movements in film theory and criticism; national, international
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, and transnational cinemas; film history, movements, and genres; film industry organizations and practices; and key technical terms and concepts. Since its first publication in 2012, the dictionary has been updated to incorporate over 40 new entries, including computer games and film, disability, ecocinema, identity, portmanteau film, Practice as Research, and film in Vietnam. Moreover, numerous revisions have been made to existing entries to account for developments in the discipline, and changes to film institutions more generally." (Publisher description)
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"Indian Film Stars offers original insights and important reappraisals of film stardom in India from the early talkie era of the 1930s to the contemporary period of global blockbusters. The collection represents a substantial intervention to our understanding of the development of film star cultures
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in India during the 20th and 21st centuries. The contributors seek to inspire and inform further inquiries into the histories of film stardom-the industrial construction and promotion of star personalities, the actual labouring and imagined lifestyles of professional stars, the stars' relationship to specific aesthetic cinematic conventions (such as frontality and song-dance) and production technologies (such as the play-back system and post-synchronization), and audiences' investment in and devotion to specific star bodies-across the country's multiple centres of film production and across the overlapping (and increasingly international) zones of the films' distribution and reception. The star images, star bodies and star careers discussed are examined in relation to a wide range of issues, including the negotiation and contestation of tradition and modernity, the embodiment and articulation of both Indian and non-Indian values and vogues; the representation of gender and sexuality, of race and ethnicity, and of cosmopolitan mobility and transnational migration; innovations and conventions in performance style; the construction and transformation of public persona; the star's association with film studios and the mainstream media; the star's relationship with historical, political and cultural change and memory; and the star's meaning and value for specific (including marginalised) sectors of the audience." (Publisher description)
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"Postcolonial Hangups in Southeast Asian Cinema explores a geopolitically situated set of cultures negotiating unique relationships to colonial history. These particular Singaporean, Malaysian, and Indonesian identities are discussed through a variety of commercial films, art cinema, and experimenta
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l work. It discovers instances of postcoloniality that manifest stylistically through Singapore's preoccupations with space, the importance of sound to Malay culture, and the Indonesian investment in genre." (Publisher description)
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"In one of the first cultural acts to follow independence in 1975, Frelimo's new socialist government of Mozambique set up a National Institute of Cinema (the INC). In a country where many people had little previous experience of cinema, the INC was tasked to "deliver to the people an image of the p
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eople". This book explores how this unique culture of revolutionary filmmaking began during the armed struggle against Portuguese colonialism. Following independence, the INC began the task of decolonising the film industry, building on networks of solidarity with other socialist and non-aligned struggles. Mozambique became an epicentre for militant filmmakers from around the world and cinema played an essential role in building the new nation. Crucially, the book examines how filmmaking became a resource for resistance against Apartheid as the Cold War played out across Southern Africa during the late 1970s and 1980s. Drawing on detailed film analysis, production histories and testimonies of key participants, Cinemas of the Mozambican Revolution provides a compelling account of this radical experiment in harnessing cinema to social change." (Publisher description)
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"Existing accounts of Myanmar’s film industry available to English speakers are more than twenty years out of date. Opening with a brief overview of cinema in Myanmar since 2000, this article is based on a recent visit to the Myanmar Motion Picture Development Department and the Yangon Film School
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, on conversations with staff, students and alumnae of these institutions and of the National University of Arts and Culture, and with local independent filmmakers. The purpose of my visit was to begin the groundwork needed to answer basic questions: Who are the women making films in Myanmar today? Where are they trained? What are the conditions in which they work? What kind of films they make? How do they fund production? How do their films circulate? And finally: Is there a women’s cinema in Myanmar? What follows thus outlines the context in which women in Myanmar make films today and introduces the work of a small number of them. I conclude with reflections on three short films: A Million Threads (2006, by Thu Thu Shein), Now I am 13 (2013, by Shin Daewe), and Seeds of Sadness (2018, by Thae Zar Chi Khaing), two of which can be found online." (Abstract)
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"Over the last 20 years, the power of cultural and creative industries (CCIs) as enablers and drivers of sustainable development has been broadly recognised. They are viewed as critical to social cohesion, social and economic transformation, and political stability. For this reason, it is important
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to explore and analyse what kind of CCIs supporting strategies, programmes and projects are in place in SubSaharan Africa, how they are working and their practical impacts. Furthermore, to deeply understand these dynamics and be able to provide accurate recommendations, this research looked not only at the practical cases of programmes developed multilaterally by the EU but also those developed individually by European countries’ cultural institutions. The authors show how, where and why CCIs programmes are implemented and put forward a case for more sustainable projects with a stronger focus on local ownership." (Back cover)
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"This dissertation explores audiovisual assistance programs through an examination of the largest such program: the EU’s ACPCultures+, which since 2008 has awarded over 50 million Euros to nearly 60 audiovisual training programs, distribution initiatives, and production projects in sub-Saharan Afr
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ica and the Caribbean. Using textual and policy analyses, in-depth interviews, and both digital ethnography and multi-sited ethnographic research in Brussels, Addis Ababa, and Nairobi, I analyze three case studies of projects funded by ACPCultures+ – a screenwriting course in Kenya, a pan-African video-on-demand platform, and the first Ethiopian film to screen at Cannes film festival – while tracing the circulation of the program’s aims and policies from its headquarters in Brussels to audiovisual professionals in Africa and the Caribbean. These cases show how, as ACPCultures+ grapples with media diversity in an era of globalization, it builds on postwar histories of both international development and EU cultural and audiovisual policies in ways that simultaneously enable and constrain media industries in the Global South. Ultimately, this research demonstrates how audiovisual assistance programs are an underexamined piece of the global media landscape in which Northern policies and Southern practices together can reframe debates about media and cultural hegemony and suggest new ways of conceptualizing the geographies of audiovisual industries and policy." (Abstract)
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"Bringing theory and practice together, 'African Cinema and Human Rights' argues that moving images have a significant role to play in advancing the causes of justice and fairness. The contributors to this volume identify three key ways in which film can achieve these goals: documenting human rights
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abuses and thereby supporting the claims of victims and goals of truth and reconciliation within larger communities; legitimating, and consequently solidifying, an expanded scope for human rights; and promoting the realization of social and economic rights. Including the voices of African scholars, scholar-filmmakers, African directors Jean-Marie Teno and Gaston Kaboré, and researchers whose work focuses on transnational cinema, this volume explores overall perspectives, and differences of perspective, pertaining to Africa, human rights, and human rights filmmaking alongside specific case studies of individual films and areas of human rights violations." (Publisher description)
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"El texto es un análisis visual sobre varios videos de dos grupos de música del resguardo Emberá Chamí del municipio de Pueblo Rico Risaralda, Bidika y Ibanafarag, estos grupos cuentan con características especiales en su concepción que logran permear en sus canciones, en la construcción est
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tica del video y que reflejan una realidad social que ha impactado tanto a su comunidad como a otros grupos sociales que han sido partícipes y a la vez víctimas del conflicto armado en Colombia, estas reflexiones sobre la estética, la composición y la denuncia social de la situación de los pueblos indígenas en Colombia es posible gracias a la apropiación que los miembros de estos grupos han hecho de las cámaras de video y circulación de su producción en Internet." (Resumen)
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"The book provides a succinct and comprehensive study of the history, aesthetics, and theory of sub-Saharan African cinematic productions that is grounded in the field of film studies instead of textual interpretations from other disciplines. Bringing African cinema out of the margins into the disci
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pline of mainstream film studies and showcasing the diverse cinematic expressions of the continent, the book covers:
Overview of African cinema(s): Questions our assumptions about the continent’s cinematic productions and defines the characteristics of African cinema across linguistic, geographic, and filmic divides.
History of African and African-American cinema: Spans the history of film in Africa from colonial import and ‘appropriation of the gaze’ to the quest for individuality. It also establishes parallels in the historical development of black African cinema and African-American cinema.
Aesthetics: Introduces new research on previously unexplored aesthetic dimensions such as cinematography, animation, and film music.
Theoretical Approaches: Addresses a number of theoretical approaches and critical frameworks developed by scholars in the study of African cinema.
All chapters include case studies, suggestions for further reading, and screening lists to deepen the reader’s knowledge with no prior knowledge of African cinema required." (Publisher description)
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